Spring Break in The Big Easy


Oversize beads hanging from a tree in a sculpture garden in New Orleans.

On a windy Monday afternoon, my friends and I slipped into the Spotted Cat bar on Frenchman Street in New Orleans. We ordered a round of Abita beers and listened to Sarah McCoy’s Oopsie Daisies, a 1940s-style blues lounge band. Sitting on stools in the middle of the bar, we shared a cigar while watching the lead singer in a red dress croon love ballads.

Only in New Orleans could you stumble on such a great band on a Monday afternoon. The town is saturated with great musicians. With the older ones, you get the sense they’ve been playing in New Orleans for decades and long ago passed the line of virtuoso into whatever comes after. You feel that the young ones came because they love music and know there’s no city where they’ll be more appreciated.


Sarah Mccoy’s Oopsie Daisies perform in the Spotted Cat on Frenchman Street.

You don’t have to worry about whether they’re good or not. New Orleans doesn’t tolerate bad musicians. Even the street musicians are high caliber and play with passion. We saw great jazz bands, blues bands, funk bands, rock banks, and the wonderful Treme brass band, which pulled my friend Liz on stage during their last number after she distinguished herself in the crowd with her dancing.


The Treme band.

I’ve heard New Orleans called the most unique city in America. Although I’ve been taught to be skeptical of the word “unique,” I think the title is deserved. The city’s past as part of the French and Spanish empires has left it with a perceptibly non-American cultural strain. In most of the United States, houses are decorated modestly, but not there. They paint their houses as if they’re competing to have the most colorful one on the block. They put rococo frills wherever they can, especially on their metal balconies. Even weeks after Mardis Gras, it’s not uncommon to see a tree whose branches are so dense with hanging beads that it looks like it came from the candy paradise scene in Willy Wonka.

New Orleans also stands out among American cities by allowing open containers of alcohol on the streets at any time of the day, which people take great advantage of in certain quarters.

That’s not to say the city isn’t American. The most prominent culture in the city, probably, is African-American. There’s been controversy over the city’s shift toward a whiter population since Hurricane Katrina led to the evacuation of black neighborhoods, but it’s still 60 percent black. The black community has established the blues and jazz core of the local music and seem to make up most of the musicians.

The iconic New Orleans sandwich, the po’ boy, also originated with the community. I wouldn’t recommend eating a po’ boy every day if you plan to live past 40, but they’re delicious in a greasy way, and they do a great job of preparing your stomach for a night of beers.


New Orleans also has a distinctively southern character. While eating New York-style sandwiches in Stein’s Deli, a place we became addicted to during our stay, we started talking to a pair of older ladies who seemed to come from the southern gentry. The more talkative of them proudly told us that the other lived in the house Jefferson Davis died in (her friend nodded proudly). We confirmed this afterward.

The talkative southern lady insisted on giving each of us hugs after our conversation, even though the four members of our group ran the spectrum from loving hugs to reserving them for weddings, graduations and funerals. This was one of countless examples of extraordinary friendliness we encountered in New Orleans. The night we arrived, a group of twenty-somethings devoted nearly a half hour of their night to giving us advice on where to go. It’s not uncommon while walking down the street for passersby to give you an earnest “good times!”

The supreme act of friendliness was our encounter with Wendell Pierce, the New Orleans native who played Bunk on The Wire and Antoine Batiste on Treme. We read in the Times-Picayune that he would be opening a grocery store on the outskirts of the city in an effort to eliminate a food desert, so we stopped by on our way to see the beautiful marshland at the Jean Lafitte National Park.


The alligator-infested marshland in Jean Lafitte National Park.

We were bashful about approaching Pierce, who was busy talking to neighborhood folks in the crowded supermarket. We almost left, but then we saw Pierce suddenly standing alone. He shook all our hands (we agreed that his handshake was really soft, but not in a bad way), and asked where we were from. He was happy to hear we were from Mizzou, and asked some sports-related questions I didn’t understand.

Later, we worried that he thought we were in town as part of a charity effort instead of being on vacation. Still, I’ll always remember his generosity in opening the grocery store and taking the time to ask questions of four strangers on that busy day.

I only spent a week in New Orleans, but I think I’ll carry a little bit of it with me for a while. It makes you want to be more passionate about music and to take more out of life, in a friendly way.

Reserving Judgment On Treme

Over the years, Kish and I have loved many of HBO’s series.  The Sopranos, Deadwood, and The Wire are some of the finest TV programs ever made.   So, we looked forward with tremendous anticipation to Treme, a show made by the creators of The Wire and set in New Orleans only a few months after Hurricane Katrina.

Let me begin by making an admission that fatally undercuts the credibility of everything else I am about the say:  I have not been able to stay awake through an entire episode yet.  I start with great intentions and commitment, get energized by some terrific New Orleans music, and then after watching a bunch of seemingly random characters move without apparent purpose through the extremely depressing, brutalized post-Katrina landscape, I doze off.  It’s embarrassing to admit, but maybe it also says something about the show’s pace.  I never nodded off during The Sopranos or The Pacific.

There are things to like about Treme.  I admire Wendell Pierce and Clarke Peters, the very talented actors who play, respectively, Antoine Batiste and Albert Lambreaux.  Pierce is a very convincing and likable trombone player who obviously has a musician’s commitment issues; Lambreaux plays a sad-faced, commanding figure I haven’t quite figured out.  I like the idea of having long scenes that include some excellent music, although at times those scenes don’t fit too well with the flow of the show.  Some of the show’s characters — like the angry professor played by John Goodman — are a bit over the top, but I am giving them the benefit of the doubt because they obviously have been deeply scarred by the sight of their city brought to its knees by a horrible catastrophe.

One thing I can say with assurance, based on the portions of the two episodes I’ve watched before drifting off into the Land of Nod.  Davis McAlary, the appalling goateed DJ played by Steve Zahn, is the most annoying TV character I’ve every watched.  He seems to have no redeeming qualities whatsoever.  He is a slob.  He is a rude and mean-spirited neighbor.  He is an arrogant liar.  He is a looter and a thief.  He drinks the most expensive wine at his girlfriend’s restaurant without permission or compensation.  He has temperamental outbursts when asked to play songs from a playlist.  He bugs people like Elvis Costello who are trying to watch a nightclub show in peace.  Are we supposed to like this jerk or find him interesting?  I sure don’t.  I can’t imagine why his chef/restauranteur girlfriend wouldn’t kick his sorry ass to the curb in a nanosecond, or why Elvis Costello wouldn’t bitch-slap him for telling obvious falsehoods about his musical abilities.  In my view, when that character is on the screen he sucks the wind out of the show every time.  Couldn’t a corrupt FEMA official take him out and do us all a favor?

We’ll keep watching, because I think the show has obvious potential — but it is a slow start so far.  Right now, my short-term goal is just to watch an episode through to its conclusion without being overwhelmed by slumber.